The Deluge

Onto 1986's The Deluge, and Manilla Road's style has been moving in a progressively heavier, thrash influenced direction since Open The Gates. The trademark Manilla Road sound is still very much present (and I suppose you should read my Crystal Logic review for a description of their sound) .And while The Deluge is heavier than it's predecessor, it's also catchier, sounding closer to Crystal Logic than Open The Gates ever did. Mark Shelton is back on form again after being plagued with illness during the Open The Gates sessions (although his voice would never quite recover) and he crafts some of his finest melodies here, Divine Victim being a particular standout. Indeed, great songs abound on The Deluge, Shadows In The Black, Hammer Of The Witches and the title track being among the best they've ever done. The whole thing feels more professional and muscular than previous works, right down to the cover art. Compared to the amateurish image that graced Crystal Logic, and the utterly baffling Open The Gates artwork, The Deluge's image of Poseidon rising out of the see to smash Atlantis is utterly striking in comparison. Lyrically, we see a darker style creeping into Mark Shelton's words, with many of the mythological themes of old replaced, on Hammer Of Witches and Isle Of The Dead taking on more horror-based themes. This'd get played up a lot more on the next three albums, by which time their lyrical focus had shifted entirely to late 19th /early 20th century writers like H.P Lovecraft and Edgar Allan Poe. At any rate, it's the first sign we see of Manilla Road's sound becoming darker still, culminating in the utterly vicious Out Of The Abyss. We see yet another nod to horror with the keyboard interlude Morbid Tabernacle, sounding like the sort of macabre instrumental we'd see on a King Diamond album. Of course, every Manilla Road album must have an epic centerpiece, and The Deluge is no exception. This time out it's the 8-minute title track and it may well be the greatest song in the band's career. I suppose it's worth mentioning that the preceding track Taken By Storm is something of a prelude to The Deluge, dealing with the opening of “The Eye Of The Sea” that leads to Atlantis' destruction at the hands of Poseidon. The Deluge is a masterwork, going from it's serene opening, to the stunning middle section, complete with Randy Foxe's pounding drum work, astounding riffage, and Mark Shelton describing the wrath of Poseidon in detail. I particularly like the closing Engulfed Cathedral segment, it's sombre melodies mourning Atlantis, sunk below the sea, never to return... Well, not until 2001 and its Atlantis Rising sequel. I'll admit I haven't talked all that much about the music here, but I have tried to say what makes The Deluge different in the Manilla Road catalogue. And indeed, they are a band who are different every time out, while remaining the same at their core. The Deluge is the high point of mid-era Manilla Road, and should be the next purchase for anyone who enjoyed Crystal Logic. And as the frenzied soloing of Rest In Pieces plays us out, we, the listeners, are left with the satisfied feeling that only the finest metal albums can give us.